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PROSPERO Web.Pdf Legal Publisher Serge Rangoni · Place du 20-Août 16 · 4000 Liège Chief Editor Sylvia Botella Translator Bernadette Pâques, Émilie Syssau, Claire Tarring Coordination Marjorie Gilen, Serge Rangoni, Pierre Thys · Théâtre de Liège Graphic Design Laurent Delmelle · Debie Graphic Design · www.debie.com Print www.vervinckt.com · March 2017 Contributors Mattias Andersson, Sylvia Botella, Ivica Buljan, Romain David, Nikita Faulon, Nathanaël Harcq, Antonio Latella, François Le Pillouër, Christine Letailleur, Angélica Liddell, Thomas Ostermeier, Katie Mitchell, Romain Scheiner, Anne-Cécile Vandalem Special Thanks to Florian Borchmayer, Jimmy Geers, Brunella Giolivo, François Le Pillouër, Martin Lorente, Cosetta Nicolini, Daniela Nik-Nafs, Ronan Martin, Axel Satgé, Claire Tarring, Freddie Todd Fordham, Bridget Thornborrow Sommaire Contents PROSPERO PREFACE 4 Preface 6 François Le Pillouër PROSPERO CREATION 10 Katie Mitchell & Thomas Ostermeier 18 Christine Letailleur 22 Mattias Andersson 26 Anne-Cécile Vandalem 30 Antonio Latella 34 Angélica Liddell 38 Ivica Buljan PROSPERO’S SCHOOL 42 Nathanaël Harcq 46 Romain David (Nimis Groupe) 48 Nikita Faulon & Romain Scheiner PROSPERO IN ACTION 50 Facts and Figures 3 FR « Je dirai, aujourd’hui, que l’espérance ne suffit pas à faire une politique mais que sans espérance, il n’y a pas de politique » ÉTIENNE BALIBAR L’E spéra nce En 2017, l’horizon de l’Union Européenne ne semble pas être des plus dégagés, ni des plus engageants. Le soixan- tième anniversaire du Traité de Rome le 25 mars 2017 se heurte à la colère des citoyens européens et au fracas du réel. Les mutations économiques et technologiques, les attentats terroristes, la montée des politiques identitaires bornées et le Brexit marquent-ils la fin d’un Idéal européen ? Beaucoup d’entre nous n’ont rien vu de Lampedusa ni des îles grecques ni des camps turcs. Pourtant, rarement nous aurons eu la sensation de lieux qui, perdus dans l’oubli, s’adressent autant à nous, Européens. Comment l’ignorer ? Impossible de ne pas le sentir. Le refus d’accueillir les migrants signe-t-il l’échec du projet européen, de la solidarité et de la démocratie ? Le projet européen va-t-il vers son autodestruction ? Témoins de cette béance inconcevable, Prospero rejoint les poètes, les artistes et les pédagogues européens dans leur manière de chercher l’humain, une vérité, en saisissant les distances avec un surplus de lucidité et en se plon- geant dans les vagues de l’imagination. Existe-t-il des alternatives ? Pouvons-nous penser une Europe, autre, moins basée sur le marché ? Comment pouvons-nous repenser les frontières internes et externes de l’Europe face aux muta- tions des technologies de l’information et aux mouvements des populations ? Concrètement, comment pouvons-nous modifier notre relation à ce que signifie, aujourd’hui, une « frontière », un « territoire » et « une population » qui se dé- placent, se superposent, se juxtaposent et se multiplient ? Comment pouvons-nous reconsidérer le projet européen face aux nouvelles réalités sociales, politiques et culturelles sans bâtir d’autres murs ou mettre en place de nouveaux mécanismes d’exclusion qui ne changent rien ? Quels sont les chemins praticables ? Comment pouvons-nous penser à nouveau les droits humains et, les droits économiques et politiques ? Et rallumer la flamme d’une politique de l’es- pérance. Progrès - Prospérité - Liberté - Paix. Prospero veut donner à voir un autre visage de l’Europe ; celui d’une Europe de la culture, médiatrice et créatrice, ima- ginée par les artistes, aptes à trouver des narrations alternatives face au « sauve qui peut », désireux de s’emparer du plateau-monde et de mettre en scène. Même si chacun(e) nous rappelle qu’il ne faut pas trop fantasmer sur les pouvoirs de l’art, tous parlent d’un « vivre ensemble » commun dans sa diversité et ses contradictions, conscients que leur soif d’humanisme et de justice sociale les rassemble et peut marquer un nouvel élan. Aujourd’hui, Prospero donne la parole aux artistes, aux élèves et aux représentants des institutions et des écoles dans des entretiens à la croisée de la création et de l’inscription pensive dans le réel, au Barbican à Londres, dans un café Rive Gauche à Paris ou une cuisine à Bruxelles. Une troisième voie, critique mais pas moins remplie d’espérance. C’est le sens PROSPERO PREFACE PROSPERO du combat des enfants de Prospero depuis 2008 : « Nous sommes des artistes, nous résistons comme citoyens ». ■ Sylvia Botella 4 EN “I will say today that politics needs more than hope, but there is no politics without hope” ÉTIENNE BALIBAR Hope In 2017 the horizon of the European Union does not seem to be either at its clearest or at its most appealing. The sixtieth anniversary of the Treaty of Rome on 25 March 2017 is taking place against a backdrop of anger being felt by European citizens and crashing reality. Do economic and technological change, terrorist attacks, the rise of narrow- minded identity politics and Brexit mark the end of a European ideal? Many of us have seen nothing of Lampedusa, the Greek islands or the Turkish camps, but rarely have we had such a feeling of places in oblivion addressing us in Europe. How can we ignore it? It is impossible not to feel it. Does the refusal to welcome migrants signal the failure of the European project and of solidarity and democracy? Is the European project heading for self-destruction? Bearing witness to this unimaginable gaping hole, Prospero brings together European poets, artists and teachers in a search for the human element, for a truth, introducing a certain distance with a high degree of lucidity and immersing themselves in waves of imagination. Are there alternatives? Can we come up with a different Europe, less based on the market? How can we rethink Europe’s internal and external borders in the face of changes in information technology and movements of populations? In concrete terms, how can we modify our relationship with what a shifting, superimposing, juxtaposing and increasing “border”, “territory” and “population” mean? How can we reconsider the European project in light of the new social, political and cultural realities without building other walls or putting in place new mechanisms of exclusion that change nothing? What practicable paths lie ahead? How can we rethink human, economic and political rights? And relight the flame of a politics of hope. Progress - Prosperity - Freedom - Peace. Prospero’s intention is to show another side of Europe, that of a mediating and creative Europe of culture devised by artists who are capable of finding alternative narratives to the “run for your life” attitude, eager to take over the stage- world and produce work on stage. Even if we are all aware that we should not fantasise too much about the power of art, everyone is talking about a common “living together” in all its diversity and contradictions, knowing that they are united in a craving for humanism and social justice that can signal a new momentum. Today Prospero is giving a voice to the artists, students and representatives of the institutions and schools in interviews that blend their creation and thoughtful reflections on the real world, conducted at the Barbican in London, in a café on Paris’s Left Bank and in a kitchen in Brussels. A third way – critical, definitely, but no less hopeful. This is what Prospero’s children have been battling for since 2008: “We are artists; we are resisting as citizens”. ■ Sylvia Botella PROSPERO PREFACE PROSPERO 5 François © G. Prié Le Pillouër François Le Pillouër, c’est bien sûr, l’homme qui a dirigé le Théâtre National de Bretagne pendant plus de vingt-deux ans. C’est aussi un regard aiguisé sur l’art de la mise en scène et la culture en France et ailleurs. Et un regard qui devient encore plus singulier lorsqu’il parle de l’Europe (de la culture) et en propose une nouvelle lecture. Parlez-nous de la genèse de Prospero ? Nous n’avons pas rencontré de difficultés majeures dans le Marie-Odile Wald (directrice adjointe du Théâtre National secteur de la création. Nous en avons rencontré quelques- de Bretagne / Rennes) et moi-même avons toujours été unes dans la constitution d’un groupe de chercheurs euro- des Européens engagés, désireux de participer à l’édifi- péens capables de travailler ensemble et avons dû œuvrer cation artistique et culturelle de l’Europe. C’est pour cette pour faciliter les échanges entre les écoles d’art de pays raison que nous avons rencontré rapidement d’autres qui avaient des pratiques distinctes et n’avaient pas de Européens passionnés tels que Serge Rangoni - Théâtre langues communes. À celles-ci se sont ajoutées celles que de Liège - et Pietro Valenti - ERT / Modène -, très actifs rencontrent les politiques au niveau européen lorsqu’ils sur toutes ces questions-là. Je me suis rapproché de prennent des décisions : le choix à l’unanimité ou non des Thomas Ostermeier - Schaubühne / Berlin -, qui était, lui projets, les disparités économiques, par exemple. Nous aussi, très ouvert à ces problématiques. Tous les quatre avons persévéré, parce que nous pensions que seuls les avons commencé à imaginer cet audacieux projet de coo- artistes pouvaient sauver l’Europe qui, elle, devait refuser pération culturelle en 2006. Par la suite, le Centre Culturel de n’être qu’un marché de pauvres dupes. Avec leur aide, de Belém (Lisbonne), sur proposition de Serge Rangoni et de grands pas pouvaient être franchis, malgré de nom- de Marie-Odile Wald, puis l’Université de Tampere (Fin- breuses résistances politiques et (ou) administratives. lande), sur proposition de Pietro Valenti, nous ont rejoints. Comment s’est opéré le choix de poursuivre le projet Comme mes collègues, j’accompagnais des artistes dont Prospero sans le soutien de l’Union Européenne ? j’admirais les œuvres.
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